Pagliacci

Review

At the outset, a minister (yes, the venue is an Anglican Church; no, there are no weighty religious overtones) explains that two types of theatre exist: one depicting perfection, or the divine; the other, humanity at its most raw.
In Pop Goes the Opera’s 2017 production of Pagliacci, we are treated to the latter. Shedding the need for elaborate set pieces, this abridged production of Leoncavallo’s esteemed work, tells the story of love, jealousy, and the blurred lines that separate art from reality.
While the set is little more than scaffolding flanked by LEDs, it should be said that there are few signs that these are (mostly) amateurs. The singers, right down to the townsfolk, are consummate performers, with stunning voices and an obvious passion for the work.
The standout among the players is Bertrand Malo, playing the manipulative fool, Tonio. His approach is a delightful mixture of tragedy, one that can only be truly appreciated in person.
The most important thing, however, is that this is an accessible opera—you don't need to be Frasier Crane to applaud this phenomenal little production. You’ll never be happier to watch a clown cry.
Review by Buchanan Hunter.